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The article is an attempt at a preliminary reconnaissance of the main elements constituting the issue of exile repeatedly occurring in Zygmunt Haupt’s work. The presented analysis is first of all focused on showing the sources of the originating discourse. To do this the writer’s letters to Józef Witlin and Mieczysław Grydzewski have been analyzed, as they are an extremely precious source concentrating both the author’s existential experience and the attempts he made to put it into the form of a narrative. The writer’s correspondence with the author of Orfeusz w piekle XX wieku (Orpheus in the Hell of the 20th Century) has not been published as yet, so the article also brings interesting discoveries connected with substance of the issue.

The article explores Luben Karavelov’s novel “Turkish Pasha”, accepting that the text is a good illustration of the way Bulgarian literature from the period of the National Revival considers the sphere of the violent and the sadistic on the one hand and the nature of martyr-and-victim experience on the other. The emphasis is laid upon violence and the ritualization of torture, bodily violation in Karavelov’s novel which inevitably leads to analogies with works written nearly a century earlier, like for example “Justine, or the Misfortunes of Virtue” by Marquis de Sade, no matter how paradoxical these parallels may seem because of the different socio-cultural context and the receptive status of the authors. Both works are built upon the principle of “text within text”, in both cases the narrators are women and both works use the categorical apparatus of the Enlightenment discourse.
The article considers the obvious intertextual closeness, yet it does not unfold as a typical comparative analysis, because above all it is interested in the attempt of Bulgarian literature to build its own model of making sense of violence and suffering, which without being totally different from the available European practices and concepts, has its own specificity because it is refracted through the prism of national identity. This model is studied on different levels: with respect to the nature of the sadistic subject (which coincides with the character of the Turk to the extent to which it is doubly negated - as a foreign invader and a figure with power, a tyrant), with respect to the object of sadistic violation (the victims are always young, virtuous, and innocent) and from the point of view of the ritualization of the punishments and the sexual aggression of the oppressor.
The motif of incest is explored as an final phase of the regression of sadistic violation. This motif turns into the tragic culmination of Karavelov’s text. We can see in this motif not only the familiar folklore matrix (the meeting between the brother and the sister, who failed to recognize each other), but also the Revivalist concept of retribution because of the lack of memory. Karavelov’s characters are punished because they have forgotten who they are, because of their failure to preserve their national identity. The text spares only the nun, who tells the story about the endless Bulgarian sufferings, who describes the misfortunes of virtue, following the ideological point of view of the time that a happy ending is impossible under the yoke.

The study of Teodor Trayanov’s “Hymns and ballads” (1912) attempts to restore the book’s authentic poetry which seemed erased forever by the proper styling in teleological perspective in 1929 (“The Free Man”) and later arbitrarily reduced by two works (1966 and 1981).
Until now the interpretation of Teodor Trayanov’s poetry had been based on the 1929 canonical text, as well as on the unreserved confidence in the lyric entities - created later by the editors Lyudmil Stoyanov (1966) and Ivan Sestrimski (1981) – entities that were principally subordinated to given criteria and were a serious violation of the author’s will. The insoluble plait of representatives of Trayanov’s text and solid critical perception have found the incontrovertible idea of monolithic and misunderstood poetry where the dramatic double turns were excluded in advance. In this firm interpretative scheme of the book “Hymns and ballads” lies the unenviable place of a transition unit – it is called to mark the first symptoms of a more fresh and constructive attitude to the world.
Relying entirely on the original edition of “Hymns and ballads” (1912) the present paper gradually enters in a text reality the structural basis of which is the poetical contrast: between neuropathologic decadence (Felix Dörmann) and Jugendstil (Richard Dehmel), between melancholy and ecstasy, between ominous intonation resembling Schopenhauer’s style and the intensive living along Nietzsche.
The study shows that this “transitional” and plain book contains poetry representative of the period until 1912 in a manifest and clear way and brightly defined individualism and the expressionism born it its bosom. It suggests at least two stories to follow: surmounting the suffering I, the enthusiastic, irresistible, and vital WE, and the transfiguration of the ritual language into rude, expressive, and barbarian lexis. In this sense “Hymns and ballads” (1912) apostrophizes the idea of the frozen in Teodor Trayanov’s poetry, painfully revealing the dramatic way to modernity, which Trayanov experienced prematurely.

About “Belyovski’s Uezd”, or Literature as Overcoming of Exile.
Summary
Key words: Literature in exile, national culture, traditions, models of literary
development.
In the article «On “Belyovskii District”, or Literature as Overcoming of Exile» by
A.I.Chagin the problems of literary development in exile are being examined through the
literary experience of the first “wave” of Russian emigration after the October revolution
of 1917 (the 1920 – 1930s). Touching upon the discussions in émigré literary criticism of
that time concerning the problem of opportunity for a national literature to exist in exile,
the author demonstrates how faithfulness to the traditional roots of the national culture
(to “Belyovskii district” – to a spiritual image of motherland, according to the allegoric
expression by I. Bunin) gave to Russian émigré literature strengths not only to survive, but
to unite as well in comprehension of its historical mission, its task to preserve, to save the
national cultural, literary tradition. This idea lived in Merezhkovskii’s famous words: “We
are not in exile, we are in message”.
Appealing to the idea of succession, considering itself as a keeper of the traditions
of Russian spirituality was connected for Russian émigré literature in many respects to opposition
to the new situation in the sphere of culture in Russia at that times. In particular,
obvious tendency of rejection of the classical tradition in Russia in the 1920s was considered
by many émigré writers as “the new eclipse of Pushkin’s sun”. Besides, the author of
the article cites the extracts from the speeches by D. Merezhkovskii and Z. Gippius who
raised sharply the question of absent freedom of speech in Russia and asserted that it was
emigration which “has given for the first time a free speech to Russians” (Z. Gippius). The
author emphasizes the idea of relativity of these – absolutely natural – judgments, these
apprehensions of destiny of Russian culture at the far motherland and reminds that two
incomparable points were equalized here: a freedom of speech as one of the laws of a state
– and a freedom of creative work, i.e. a freedom of spirit which is connected, certainly, to
a freedom of speech and depends on it, but isn’t restricted with its limits; in fact it is born,
first of all, by a scale of a personality, of a talent. And in spite of the fact that the writers in
soviet Russia had to assert their freedom of spirit in absence of a freedom of speech and
all the rest kinds of freedom – still we know that the representatives of the elder generation
О «Белёвском уезде», или Литература как преодоление изгнания
(such as Korolenko, Akhmatova, Mandelstam, Pasternak, others) hasn’t sacrificed their
freedom of spirit.
There is one more significant reservation in the article which is connected to the
situation with a freedom of creative work in Russia abroad.

For a profound understanding of the Cervantes’ “The Ingenious Gentleman Don
Quixote of la Mancha”, from the viewpoint of genre characteristics, it is necessary to
trace the traditions of epic narrative leading to the formation of the main peculiarities
of this classic of Western literature, considered to be the first modern European novel.
The best approach to the Cervantes’ novel is when it is considered as an extremely heteroglossic text, as an organic synthesis of all the genres fashionable in late Renaissance
or early Baroque era, including the carnivalized folkloric forms and motifs. Not only the
world outlook and code of values of the Knight of the Sad Countenance but as well the
whole fabric of Cervantes’ novel in closely interwoven in the intertext of Renaissance
literary system. The traditions of different genres, first of all chivalric and pastoral romance
in prose and verse and picaresque novel are organically interrelated and linked to
the central theme. The forms of parody and satire in Cervantes’ novel, demythologizing
attitude to the chivalric can be regarded as a transformation and further culmination of the
ironic tone first revealed in Matteo Boiardo’s romance “Orlando Innamorato” and much
more evident in Ludovico Ariosto’s heroic-comic romance epic “Orlando Furioso”. Ariosto’s
form and style inspired Cervantes by its play spirit, by constant hovering “between the
mock-heroic and pathetic” (J. Huizinga. HOMO LUDENS. A Study of the Play-Element
in Culture. Redwood Burn Ltd , Trowbridge and Esher, 1980, p. 181).

On the Mount Athos 86 Georgian manuscripts are preserved. They are dated by X-XV centuries and are not fully investigated. Among them – hymnographical – liturgical collections – Tropologions, Menaia, Triodions, Parakletikes, Heirmologia are represented.
In these collections the vast repertoire of Byzantine hymnography is preserved with the Georgian hymns.
Georgian manuscript – Ath. 85 is discussed in the article. The manuscript represents Hirmologion – collection of the Hirmoi.
According to the colophons the manuscript was created at the end of the X or in the beginning of the XI century by the persons who were in touch with Tornike Eristavi - the famous Georgian Commander-in-Chief, who has successfully fought for defence of Byzantine Royal Court and gained the Victory.
In these colophons Jojik Eristavta Eristavi is mentioned with honour. This person is almost unfamiliar to Georgian History.
According to these colophons Jojik Eristavi was one of the authorities at the same age.
It is remarkable that Jojik Eristavi represents one of the personages of the poem “Tornike Eristavi” created by Akaki Tsereteli in the XIX century.
According to the poem he has actively fought in the war against Barda Scliaros – against Byzantine Royal Court. Georgian Army had a great expectations about him.
He was the one who solved the war Faith.
The precise discription of historical reality is given in the Akaki Tsereteli’s poem.

(Stephane Sananoisdze – Chqondideli)
Summary
Key words: Stephane Sananoisdze – Chkondideli, hymnography, St. Stephen the first
martyr.
Georgian hymnographers of the 10th century create “Golden Age” in the history of
Georgian hymnography. Among them there is Stephane Sananoisdze whose creativity has
been less studied in scholarly literature.
According to Academician K.Kekelidze, Stephane Sananoisdze must have lived
and created in the 10th century or in the last quarter of this century (Kekelidze 1960:
180). The name of this hymn-writer is mentioned with great respect in the decree of Ruis-
Urbnisi Church Council.
Under Stephane Sananoisdze’s name two hymns included in Michael Modrekili’s
collection of hymns “Iadgari” (978-988) have been preserved. The first of them is devoted
to the festivals of our Lord: the Baptism of Christ and commemoration of the saint martyr
Abo Tbileli and the second one - to Stephane the first martyr. The hymns were published
by P. Ingorokva (Ingorokva 1913: 135-142).
As is seen, Stephane Sananoisdze was also engaged in translational activity. Several
of his translations are indicated in scholarly literature. They are: “Akathistos” to the
Virgin, “The Life of Theoktiste of Lesbos” and Gregory of Nyssa’s “The Praise to Saint
Stephen the First Martyr”. These translations have not yet been published and studied.
According to the data of a well-known 11 th -century Georgian scholar, Ephrem Mtsire,
Stephane Sananoisdze also had other translations which have not yet been revealed.
According to the data came down to us, we must suggestion that Stephane Sananoisdze
was an extremely important figure, less known today. His creative works
require monographic study.
In our view, while determining Stephane Sananoisdze’s period of activity the following
circumstance is to be taken into account: Stephane Sananoisdze’s hymn preserved
in Michael Modrekili’s “Iadgari”, which is dedicated to the Baptism and St. Abo, the following
title is supplemented: “The Blessed Stephane Sananoisdze - Chqondidi . Christ,
great mercy to their soul”. According to this title by the time of compilation of the collection
(978-988) Stephane Sananoisdze had already died. This fact does not change the
circumstance that he must have been a scholar of the 10th century. This is also evidenced
from the language of his hymns – classical, perfect old Georgian which is typical for great
Georgian hymn-writers of the 10th century.
Stephane Sananoisdze’s hymns rank among the most perfect specimens of the old
Georgian ecclesiastic poetry. They represent a blend of author’s deep theological education
and artistic skill.
Another obvious sign characteristic to a great artist is compositional wholeness of
his hymns and sequence of thought - multifaceted understanding of one theme.

At the end of the 1920s, in the period of propaganda of ideologically motivated vulgar realism and aesthetic empiricism in Soviet writings, K. Gamsakhurdia publishes a fable type short-story with marked title – “The Book of Wisdom and Lies”. Repeating the conceptual title of the 18th century Georgian classic writer Sulkhan-Saba Orbeliani’s book of fables, the writer implicitly defends the status of invention (lies) and creative fantasy.
S. S. Orbeliani’s fable “Italian Artists” serves as a direct source for Gamsakhurdia’s text, whose author not only shares the theory of mimesis but as a writer of late Renaissance (baroque) criticizes aesthetic empiricism from Aristotelian standpoint. “The game” of artists embraces the parodying elements of imitation principles as well, therefore revealing complaint towards the “untruthfulness” of mimetic art.
Gamsakhurdia had perceived “Italian Artists” from the standpoint of criticism of mimetic art, which was essential for modernist writers. This serves as means for building bridges between two epochs, followed by modernistic interpretation of classical texts: as artists do play, and play is an irrevocable sign of crisis (Theodor Adorno, Walter Benjamin), modernist Gamsakhurdia detected the negation of mimetic, imitative lies in classic texts and tied it with the collapse of lies and western theories about the crisis of myth.
In support of modernistic aesthetics, Gamsakhurdia worked out a witty strategy: under the political-ideological pressure he used the authority of classical heritage –under the mask of S. S. Orbeliani’s book of fables published a modernistic manifesto nourished with Nietzsche’s and Wilde’s anti-mimetic, non-realistic conceptions.
Gamsakhurdia’s “The Book of Wisdom and Lies”, depicting the longing towards national roots of modernism, serves as fact for defending creative freedom under totalitarian regime.

The article deals with the attitude of Paul CELAN, an Austrian poet, to Czech lands. Even though CELAN never visited Bohemia or Moravia, he was closely related to the region through the lives of his parents: his mother spent several years there in exile and his grandmother (agnatic) was buried in Kyjov (Moravia). Celan reflects the fact for example in his poems Es ist alles anders [Everything is Otherwise] or Wolfsbohne [Blue Pea]. The way CELAN is related to KAFKA, and through KAFKA to Prague, is complex – the fact is demonstrated for example in the poem titled In Prag [In Prague]. Prague is a frequent topic in CELAN’s correspondence with Franz WURM, a Prague-resided poet writing in German, from the end of 1960s and the occupation of Czech lands by the armies of the Warsaw Pact on August 21, 1968 appears as a topic in three CELAN’s poems. The study is concluded with the reception of CELAN’s work in Czech lands through numerous translations published in journals and mainly through the anthology titled Sněžný part, arranged by a Czech translator, Ludvík KUNDERA, and published in 1986.

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